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symphony of a big city, poster by stenberg brothers, 1928, z, formal…

- - - - best known for designing film posters for Sergei Eisenstein 's movies, Dziga Vertov 's documentaries
      - founding members of the Society of Young Artists known as obmokhu, and contributed to the group's first exhibition in Moscow in May 1919, and subsequent exhibitions in 1920, 1921 and 1923
        
        Stenberg brothers were members of the Institute of Artistic Culture (INKhUK), a Constructivist group which included Alexander Rodchenko, Varvara Stepanova, Lyubov Popova, Medunetskii and others. 1922
    - - untimely death in a motorcycle crash. since his death occurred around the time that stalin came into power, vladimir considered it to be the work of the secret police, since independent art was being attacked under stalin’s rule.
    - - nearly all of their posters were illustrated. Technological limitations of the time meant that collaged images could not be reproduced to a high standard, so the brothers developed a prototype overhead projector, allowing them to project and distort images, portraits and film stills on to their posters which they then illustrated by hand
    - - reason for dark, bold red, yellow, and white?
        
        does it relate back to communism?
        
        propaganda
        
        For a time, the avant-garde was tolerated and even encouraged by the new communist government: the Russian artist Naum Gabo, who emigrated to Germany in 1922, recalled that "at the beginning we were all working for the Government." To some extent, this freedom reflected the lack of attention which the Central Committee - the USSR's new ruling body - was paying to cultural matters while it was struggling with the Russian Civil War of 1917-22. As early as 1922 - the year that the war ended, and that Joseph Stalin began to consolidate his control over the USSR - the State was already beginning to clamp down on freedom of creative expression; when Stalin rose to full power upon Lenin's death in 1924, a more drastic shift in culture followed. Unlike most movements in art history, which tended to grow organically out of a socio-historical moment, Socialist Realism was imposed from above through informal pressure from the early 1920s onwards, and as state policy from 1934.
        
        was the poster effective because of this?
        
        https://www.theartstory.org/movement/socialist-realism/history-and-concepts/
- - - - stenberg brothers' poster was inspired by umbo's (otto umbehr) photomontage
        
        umbo
        
        camera assistant for the film
        
        one of the most important photographers of Bauhaus and modernism
        
        unsure how stenberg brothers became familiar with the photomontage
      - other publicity for the film
        
        umbo's photomontage released in 1925
- - - - reputation of most significant and successful writer of reportage in germany
        
        umbo probably depicted him in the photomontage because of this
        
        stenberg brothers continued using him in the poster as he normally reported from a communist pov
  - - - used to show that they are up to date?
  - - - soviet colours
        
        was there a point of this?
        
        not really; the film was set in berlin, which has nothing to do with soviet union
- - - - Originally released in 1927, Berlin, Symphony for a Big City was directed by the German filmmaker Walter Ruttmann. It was among the first feature-length films whose primary subject was not a person, but a place. The film narrative relies on the rhythm and structure of following the life of Berlin’s streets for a single day.
        
        many of the most striking scenes in the film avoid the intrusion of people altogether, concentrating instead on the operation of mechanical devices (notably trains and factory machines)—even when those people must be there in some sense for the mechanisms to operate at all.
        
        One of the most remarkable of such scenes takes place as the climax of Act I of the film. It’s staged in a factory that produces light bulbs. We see the whirling mechanisms of the machines, the molten glass being poured into the molds, the emission of the blown glass bulbs—all without a single discernible human presence. Barrett suggests that some critics saw this as the erasure of human labor and the fetishization of the machine. More ominously still, certain critics read this scene as a prefiguration of the Nazi ethos—Ruttmann would go on to assist Leni Riefenstahl in the notorious Nazi propaganda film Triumph of the Will (1935).
        
        other scenes—notably one where Ruttmann juxtaposes a phalanx of men heading to work in a factory with cattle presumably being marched to slaughter—may be read as hewing closer to a Marxist critique of the abuses of capitalism and the denigration of workers alienated from their labor.
        
        ruttmann's involvement with the Riefenstahl and the Nazi regime was not known at that time
        
        was he a socialist?
- - - - soviet union - communism
      - weimar germany
        
        democratic
- - - - the raging reporter
      - Austrian and Czechoslovak writer and journalist
      - known for opposition to adolf hitler's nazi regime
        
        not applicable to this time, however, as hitler rose to power in 1933
      - was part of the austrian army in ww1 which radicalised him
        
        became a member of the austrian communist party in 1919 and remained a communist after
- - - - was he a reliable guy?
        
        still, he had his views. he was a communist
  - - - communism
- - - - how the design should be viewed
        
        effective design in which
      - why was it like this?
        
        how events around the designer affected the design